Changes

==Music==

==Music==

In ''gagaku'', where the term originates, ''jo-ha-kyû'' was not generally cited as a single term, but as three separate terms, referring to possible portions of musical pieces which might be combined in different ways to form a complete piece. ''Jo'' sections were introductory sections, proceeding in a calm and slow manner, and lacking a set rhythmic scheme. ''Ha'' sections proceeded at a measured pace and featured a set rhythmic scheme. ''Kyû'' sections possessed a faster tempo, and a set rhythmic scheme. It was not necessary to include all three, ''jo'', ''ha'', and ''kyû'' sections, for a ''gagaku'' piece to be considered a complete performance piece.<ref name=sando>Shelley Fenno Quinn, ''Developing Zeami'', University of Hawaii Press (2005), 129.</ref>

In ''gagaku'', where the term originates, ''jo-ha-kyû'' was not generally cited as a single term, but as three separate terms, referring to possible portions of musical pieces which might be combined in different ways to form a complete piece. ''Jo'' sections were introductory sections, proceeding in a calm and slow manner, and lacking a set rhythmic scheme. ''Ha'' sections proceeded at a measured pace and featured a set rhythmic scheme. ''Kyû'' sections possessed a faster tempo, and a set rhythmic scheme. It was not necessary to include all three, ''jo'', ''ha'', and ''kyû'' sections, for a ''gagaku'' piece to be considered a complete performance piece.<ref name=sando>Quinn, ''Developing Zeami''.</ref>

''Gagaku'' music was also used to accompany ''[[bugaku]]'' dances. When this was done, a ''jo'' section accompanied the dancers as they entered, and the dance itself was performed to ''ha'' and ''kyû'' musical sections.<ref name=sando/>

''Gagaku'' music was also used to accompany ''[[bugaku]]'' dances. When this was done, a ''jo'' section accompanied the dancers as they entered, and the dance itself was performed to ''ha'' and ''kyû'' musical sections.<ref name=sando/>

Zeami, chiefly in his works "''[[Fushikaden|Fûshikaden]]''" and "''[[Sando|Sandô]]''," described a five-part (five ''dan'') Noh play as the ideal form. It begins slowly and auspiciously in the first part (''jo''), building up the drama and tension in the second, third, and fourth parts (''ha''), with the greatest climax in the third ''dan'', and rapidly concluding with a return to peace and auspiciousness in the fifth ''dan'' (''kyû'').<ref>Quinn, Shelley Fenno. "How to write a Noh play - Zeami's ''Sandō''." ''Monumenta Nipponica'', vol 48, issue 1 (Spring 1993). pp58-62</ref> In addition, the ''jo'' should be relatively simple and straightforward, with the plot and drama being developed in the ''ha'' sections, while the ''kyû'' portion should be energetic, and come quickly to a close.<ref name=sando/>

Zeami, chiefly in his works "''[[Fushikaden|Fûshikaden]]''" and "''[[Sando|Sandô]]''," described a five-part (five ''dan'') Noh play as the ideal form. It begins slowly and auspiciously in the first part (''jo''), building up the drama and tension in the second, third, and fourth parts (''ha''), with the greatest climax in the third ''dan'', and rapidly concluding with a return to peace and auspiciousness in the fifth ''dan'' (''kyû'').<ref>Quinn, Shelley Fenno. "How to write a Noh play - Zeami's ''Sandō''." ''Monumenta Nipponica'', vol 48, issue 1 (Spring 1993). pp58-62</ref> In addition, the ''jo'' should be relatively simple and straightforward, with the plot and drama being developed in the ''ha'' sections, while the ''kyû'' portion should be energetic, and come quickly to a close.<ref name=sando/>

Further, as Zeami explained chiefly in his "''[[Kakyo|Kakyô]]''," each of these five-part plays would form one portion of a day's program, which also followed the ''jo-ha-kyû'' pacing. In an ideal five-play program, consisting of one play from each of the five categories of Noh pieces, a god play would begin the program auspiciously and straightforwardly, corresponding to the ''jo'', or introduction, of the program. A warrior play would represent the continuation of the ''jo'', transitioning into the ''ha'' of the day's performance. The third and fourth plays of the program, typically a woman play<ref>That is, a play with a female leading (''shite'') role.</ref> and a madwoman or miscellaneous category play respectively, would continue the program, also being considered firmly within the ''ha'' portion of the program. Zeami warned that entering the ''kyû'' too early in the program, that is, drawing it out over the length of time of more than one piece, would violate the concept of the ''kyû'', which is meant to be a swift ending. Thus, the fifth and final play of the program, typically a demon play or other "ending play," would energetically and swiftly bring the program to a close on an upbeat and exciting note.<ref>Quinn, ''Developing Zeami'', 129-130.</ref>

Further, as Zeami explained chiefly in his "''[[Kakyo|Kakyô]]''," each of these five-part plays would form one portion of a day's program, which also followed the ''jo-ha-kyû'' pacing. In an ideal five-play program, consisting of one play from each of the five categories of Noh pieces, a god play would begin the program auspiciously and straightforwardly, corresponding to the ''jo'', or introduction, of the program. A warrior play would represent the continuation of the ''jo'', transitioning into the ''ha'' of the day's performance. The third and fourth plays of the program, typically a woman play<ref>That is, a play with a female leading (''shite'') role.</ref> and a madwoman or miscellaneous category play respectively, would continue the program, also being considered firmly within the ''ha'' portion of the program. Zeami warned that entering the ''kyû'' too early in the program, that is, drawing it out over the length of time of more than one piece, would violate the concept of the ''kyû'', which is meant to be a swift ending. Thus, the fifth and final play of the program, typically a demon play or other "ending play," would energetically and swiftly bring the program to a close on an upbeat and exciting note.<ref name=sando/>

Finally, as perhaps most clearly stated in Zeami's ''[[Jûgyoku tokka|Shûgyoku tokuka]]'', the pattern of ''jo-ha-kyû'', starting slowly and straightforwardly, developing and speeding up, and then ending energetically and quickly, was advised to be incorporated into every element of movement, music, or vocalization.<ref>Quinn, ''Developing Zeami'', 130.</ref>

Finally, as perhaps most clearly stated in Zeami's ''[[Jûgyoku tokka|Shûgyoku tokuka]]'', the pattern of ''jo-ha-kyû'', starting slowly and straightforwardly, developing and speeding up, and then ending energetically and quickly, was advised to be incorporated into every element of movement, music, or vocalization.<ref name=sando/>

===Jôruri===

===Jôruri===